Stripped down and exposed: Othello at Leicester Square Theatre
- emilylouisehardy
- Apr 10, 2014
- 3 min read
By Emily Hardy
William Shakespeare is the most frequently performed dramatist in the world. He is cherished, particularly in England, and because of this it is tempting for critics to nibble away at fresh interpretations, comparing anything new to their prefered production from the past. Like over-protective parents, we worry about the handling of the plays that make up such an important part of our heritage. But as society changes and grows, so too does our exegesis of Shakespeare’s slippery language. Who is to say what is meant or implied or how it should be understood?
Grassroots Shakespeare Company, in my opinion, have proven themselves worthy of our trust with their pellucid, pared-back Othello at the Leicester Square Studio Theatre. Rather than imposing a cosmetic aesthetic or slant, they eradicate unnecessary frills and concentrate on telling the story.
The stakes are high even when the budget is not.
I have a great amount of respect for companies such as this who work with what is available to them and use it to their advantage. The small studio space is undeniably awkward, with audience on three sides and barely enough room to make entrances or exits. We are under the actor's feet (they frequently struggle to squeeze past us) but, due to precise direction and careful blocking, we do not feel like we are in the way but are instead physically immersed in the action. The actors have no need to be declamatory so lure us closer still with soft, low voices. It is as if we are eavesdropping on private conversations, poison unwillingly being poured into our ears.
We inhale the same air as the manipulative, callous Iago played by the intoxicating James Alexandrou. Making perfect sense of every line, thought and decision, this disturbingly likeable ‘lad’ conducts and controls the horrors that unravel onstage like an Emcee. He lies to everyone, even God…but not us. He confides in his small audience, bravely holding focus on particular individuals - going to one person for advice, another for reassurance. We are then incriminated for colluding with him, have shared responsibility in his plans and have no choice but to watch as Othello falls for his doe-eyed, vicious trickery and his repugnant lies told with chilling ease.
Annabel Bates is a beautiful and savvy Desdemona; she doesn’t play the fragile victim but instead embodies a woman in love, justifiably astonished and tormented by her husband’s irrational outbursts. Boris Mitkov is also outstanding as Casio: self-deprecating, shy and mortified by his downfall. Adam Blampied is a foolish but lovable Roderigo and Emily Jane Kerr - powerful in her convictions but as vulnerable in love – plays Emilia. Nari Blair-Mangat is a silky-smooth, sensual Othello whose platitude and catlike grin (worn like a defensive mask) give rise to Iago’s venom. His affection towards Desdemona early on lends the tragic ending an additional edge of sadness but his disintegration into madness and insane jealousy come about very suddenly. The cuts in the text may have contributed to the minor gaps in development here.
I wonder with confidence about the exciting future that lies in store for Grassroots Shakespeare and suspect that Artistic Director Siobhán Daly could afford to go one step further. The painted hangings and heavy costumes, for example, distract from the production's raw modernity, the tangible danger and the contemporary interaction between the characters. What if they too were scrapped? This is a 21st Century Othello about ego, manipulation and the fallibility of trust. Text, direction and performances this good require no further accessories; anything more is just an obstacle to the truth.
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